Adult feminine clothes and head gear!

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America's Snoqualmie Moondance festival in 1992. The woman on the right wares a form of Gypsy top and a long, floral maxi skirt. The drab maxi skirt would become more popular with younger women and teens in the late 1990s and early 2000s. The top would become popular from about 1998 to 2002 with teens and older girls.

Some Ukrainians (of Dnieper lowlands) in national attires, drawing of George Narbut, 1907. They are Ethnic Ukrainians in national costumes and traditional Ukrainian setting. Drawing by George Narbut (Heorhiy Narbut), Ukrainian painter born in 1886 in Narbutivka, Hlukhiv district, Sumy region of eastern Ukraine. Author: George Narbut (1886 - 1920), Ukrainian painter.

A Belorussian woman in traditional folk costume from some time approaching 1917.

Yucatecas dressed in 1993 with "terno" of huipil, traditional costume of Yucatán, with which the Jarana yucateca is danced.

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Femininity(also called:girlishness, womanliness or womanhood) is a set of attributes, behaviors, and roles generally associated with girls and women. Femininity is socially constructed, but made up of both socially-defined and biologically-created factors. This makes it distinct from the definition of the biological female sex, as both males and females can exhibit feminine traits.

People who exhibit a combination of both masculine and feminine characteristics are considered androgynous, and feminist philosophers have argued that gender ambiguity may blur gender classification. Modern conceptualizations of femininity also rely not just upon social constructions, but upon the individualized choices made by women.

Traits traditionally cited as feminine include gentleness, empathy, and sensitivity, though traits associated with femininity vary depending on location and context, and are influenced by a variety of social and cultural factors. In some non-English speaking cultures, certain concepts or inanimate objects are considered feminine or masculine (the counterpart to feminine).

These various items of clothing did and still have many normal uses and were part of normal and sporting fashions around the world, but these garments had also become the outfits warn by many of the Hippies, sexed-up teens, rebelliose teens and related groups in their era.

Whilst rebellious and rude teens naturally gravitated to wards rude and sexed-up stuff like miniskirts, Hippies chose new era stuff like caftans. The new-era idea was to promote these pretty items evoke a spirit of a long lost care-free, happy, bountyfull, peaceful, peasant cultured, environmentally friendly, non-capitalist and pre-modern working class world utopia; but sadly this image was generally a idealised myth constructed in a marijuana/LSD induced dope haze. Such people relay lived in poverty, got ill often, suffered a lot and were often discriminated against by rich people.

On February 12, 1947, Christian Dior launched the first collection of the House of Dior. The new collection went down in fashion history as the "New Look". The signature shape was characterized by a below-mid-calf length, full-skirt, pointed bust, small waist, and rounded shoulder line. Resisted at first, especially in America, where fashion magazines showed padded shoulders until 1950, the radical new silhouette soon became immensely popular, influencing fashion and other designers for many years to come. The "softness" of the New Look was deceptive; the curved jacket peplum shaped over a high, rounded, curved shoulders, and full skirt of Dior's clothes relied on an inner construction of new interlining materials to shape the silhouette. This silhouette has drastically changed from its previous more masculine, stiff, triangular shape to a much more feminine form.

Throughout the post-war period, a tailored, feminine look was prized and accessories such as gloves and pearls were popular. Tailored suits had fitted jackets with peplums, usually worn with a long, narrow pencil skirt. Day dresses had fitted bodices and full skirts, with jewel or low-cut necklines or Peter Pan collars. Shirtdresses, with a shirt-like bodice, were popular, as were halter-top sundresses. Skirts were narrow or very full, held out with petticoats; poodle skirts were a brief fad. Ball gowns (full-skirted gown for white tie occasions) were longer than ankle-length dresses (called "ballerina length"), reaching the floor and worn to balls (as they are today). Cocktail dresses, "smarter than a day dress but not as formal as a dinner or evening dress" were worn for early-evening parties. Short shrugs and bolero jackets, often made to match low-cut dresses, were worn. Meanwhile, in Israel, simple Biblical sandals, blue cotton shirts and utilitarian, khaki military inspired dress remained popular choices for many women due to ongoing economic austerity and the need to feel prepared for war.

Christian Dior's 'New Look' collection in 1947 brought a revolution to the fashionable silhouette of the Fifties. Dior's nostalgic femininity of round shoulders, full skirts, padded hips and tiny waists replaced the boxy style of the wartime period at WWII. The trend of hourglass silhouette brought by the popularity of Dior guaranteed the market for intimate apparel. Although intimate apparels are usually hidden by outerwear, intimate apparel is especially emblematic for the contradictory beauty in the 1950s as the silhouette was created depends on the type of foundation garments worn. Foundation garments became essential items to maintain the curvy silhouette, especially waspies, girdles and horsehair padding. For example, the sales of corsets doubled in the decade 1948-58. Dior's 'New Look' collection brought back the boned intimate apparels for women, even the young one, in order to create the feminised silhouettes that embrace feminity. Symington Corset Company of Market Harborough was one of the famous intimate apparel producers in the 1950s as they are the official producer of Dior's corselettes and girdles. "All the girdles were produced to the same design, in either black or white. The sugar-pink cotton velvet trimming was a particular feature of the range, and some were woven with Christian Dior's initials in the elastic panels on the side..." A brand new 'Bri-Nylon' fabric was introduced by the British Nylon Spinners. This fabric was popular fabric to be applied on intimate apparel in the 1950s because it was one of the first easy-to-launder and drip-dry fabric. There was a full corset advertisement in 1959 shows the popularity of 'Bri-Nylon' and the design of the corselet in the 1950s. 'This exquisite Dior corselet features jacquard elastic net with the down-stretch back panel of stain elastic. The enchanting front panel is in Bri-Nylon lace and marquisette highlighted with criss-cross bands of narrow velvet ribbon. It has side fastening - partly hook and eye with zipping extension. The very light boning is covered with velveteen.' From the above advertisement, it is not hard to find that the corselets in the 1950s were constructed in details with boning, panels, different fabrics in different elasticity.

While the corselets reshaping the women's body with tiny waists and big hips, a new shape of bra called 'cathedral bra' was introduced and became popular in the 1950s. It is called 'cathedral bra' because there would be pointed arches created by the bones over the breasts when the bra is worn. The bones also separate and define the shape of the breasts by pressing them into a pointed or bullet shape. Therefore, 'cathedral bra' was also called the bullet bra. This brassiere design was popularised by actresses like Pattie Page, Marilyn Monroe, and Lana Turner, who was nicknamed the "Sweater Girl.” Although this brassiere design was designed for wearing strapless cocktail dresses and evening gowns and became popular during the 1950s, the market for this design was short-lived because it was 'likely to slip down or need adjustment throughout the evening' However, another brassiere design re-entered the market and grew popularity during the 1950s which even influenced the modern intimate design. Underwire bras were first introduced to the market in the 1930s, however, it was forced to quit the market because the steel supply was restricted in the 1940s for WWII. Underwire brassiere design re-entered the market as it helped to uplift the shapes of the breasts to form the trendy curvy silhouette with big bursts in the 1950s. Made with nylon, elastic nylon net and steel underwires, the underwire bras helped to create fashionable high, pert bosom. Underwire bras are still dominating items in the modern intimate apparel industry.

From the mid-1950s, a new unfitted style of clothing appeared as an alternative to the tight waist and full skirt associated with the "New Look". Vogue Magazine called the knitted chemise the "T-shirt dress." Paris designers began to transform this popular fashion into haute couture. Spanish designer Balenciaga had shown unfitted suits in Paris as early as 1951 and unfitted dresses from 1954. In 1958, Yves Saint Laurent, Dior's protégé and successor, debuted the "Trapeze Line," adding novel dimension to the chemise dress. These dresses featured a shaped bodice with sloping shoulders and a high waist, but the signature shape resulted from a flaring bodice, creating a waistless line from bodice to knees. These styles only slowly gained acceptance by the wider public. Coco Chanel made a comeback in 1954 and an important look of the latter 1950s was the Chanel suit, with a braid-trimmed cardigan-style jacket and A-line skirt. By 1957, most suits featured lightly fitted jackets reaching just below the waist and shorter, narrower skirts. Balenciaga's clothes featured few seams and plain necklines, and following his lead chemise dresses without waist seams, either straight and unfitted or in a princess style with a slight A-line, became popular. The sleeveless, princess-line dress was called a skimmer. A more fitted version was called a sheath dress.

With the New Look, and hats were essential for all but the most casual occasions. Wide-brimmed saucer hats were shown with the earliest New Look suits, but smaller hats soon predominated. Very short cropped hairstyles were fashionable in the early 1950s. By the mid-decade hats were worn less frequently.

Ballerina skirt is a full skirt that reaches to mid-calf or just above the ankles, worn as a costume in a ballet performance, often made up of multiple layers of fabric. It was a popular style during the 1950s.

Ballerina skirts have been a consistently popular length for formal dresses, especially for young women. The most persistent image of a ballerina skirt is that worn by the most famous ballerina Anna Pavlova. The Ballerina skirt adds to the magical quality of the Ballet dancer with its long, floating, frothy looking voluminous skirt made of many layers of tulle.The Ballerina skirt can be made up of five to even 12 layers of tulle fabric

A ballerina skirt can transform a dancer to look ethereal and a true ballerina. The ballerina skirts are beautiful, feminine and elegant as well as being the traditional costume for every classical ballet performance.

The different types of the ballerina skirts are used in ballet performance like the romantic, classic, pancake, balanchine and platter.

Actress Carine Quadros in a cropped off the shoulder gypsy top, during 2006.

America's Snoqualmie Moondance festival in 1992. The woman on the right wares a form of Gypsy top and a long, floral maxi skirt. The drab maxi skirt would become more popular with younger women and teens in the late 1990s and early 2000s. The top would become popular from about 1998 to 2002 with teens and older girls.

Gypsy top or Magyar tops are another feminine variety of T-shirt. In general a Gypsy top is white, have short puffed sleeves that are gathered in at the shoulder and bottom, (balloon sleeves), a low-cut boat necked, décolleté or scoop necked neckline, full or cropped-off loose fitting bodice and for the most part have either lace, frilly or embroidered decorations on the neckline, hems and cuffs since the 1970's. Layla and Flora wore such tops in the Winx Club's 2006 series There are now other more revealing, knitted, or ¾ length sleeved versions to.

As a modern fashion article, Gypsy tops and peasant blouses first occurred in the USA in the 1930s as the original Eastern European styled peasant blouses had first appeared in the USA during 1936. They had embodied patterns, puff sleeves of various length and the fabric was in various colours on most 'Slavic styled' peasant blouses

The fist appearance of the Magyar Top appeared in the UK and USA 1930s It was a sort of baggy T-shirt with gathered cuffs and waistband. the boat neck was ted with a chord. The Sleeves were puffed and the front was florally embroidered on the chest. It had colorfully embroidered edgings.

By the 1940's the shortages caused by World War 2 had caused them to become more of a pretty looking, up-market, embroidered, T-shirt than anything else.

During the 1940's the Americans created the 'Spanish style' or 'Gypsy style' blouse. The item was basically a puff sleeved white t-shirt with a gathered neckline that was worn under either a drab coloured Bolero jacket, boleroised waistcoat, Bolero jacket or boleroised shrug type cardigan and along with a long, coloured flamenco skirt.

1952 saw the modern, white, off the solder décolleté (decolletage) neckline and short (ballooned) puffed sleeved style come in to being in the USA. Both the coloured fabric and long sleeved versions were still going around at this time, while the posh t-shirt continued on during the decade. Magyar tops gradually became more popular from the early 1960s to late 1970s, by which time most of thire characteristic had joined the more popular Gypsy top as it swept the UK and USA in the late 1960s.

12/02/1970. FOUNTAIN SQUARE IN DOWNTOWN CINCINNATI IS A PUBLIC SQUARE THAT WORKS FOR THE CITY AND ITS PEOPLE IN A MYRIAD OF WAYS: SCHOOL CLASS TAKES A LUNCH BREAK. Cincinnati, Hamilton, Ohio, United States. The Gypsy top is on the girl to the far left in the yellow flared trousers.

They were both still faily liked in U.S to a degree in the early 1970s (including Cincinnati in early 1970) and early 1980s. When they permanently took on their present short sleeved, friily edged and smocked form in both cloth and crocheted material. They then started to spread to the British Isles, Ireland, France and Switzerland as a passing fashion article the early to mid 1980s. They then became briefly popular with some UK teens in the mid 1980s. Popularity declined the U.S. and the British Isles up to the late 1990s. The neckline had become scooped, smocked and\or frilly in the 1980's, with knitted versions having crochet work collars in the 1990's.

Gypsy tops were also briefly popular in the UK, France and Ireland from about 1998 to 2002. It emerged in Scotland slightly in 2006. They briefly caught on in parts of the USA, Italy, Mexico, Brazil and Argentina during the mid-2000s. Layla and Flora wore them in the Winx Club show's 2006 series. They have been generally out of fashion since then. The mid 2000's some have become more revealing around the chest like this one worn by America’s Christina Aguilera in 2007 , while others types are now also being knitted with Crochet work collars, elasticated smocking-styled edging and\or ¾ length puffed-out sleeved in the UK and Ireland as of the late 2000s.

They still occurred as children's ware in 2010. As of 2011 they became mostly children's ware and the term was used for any fashionably styled teenage or young adult t-shirt or blouse, including the genuine article.

A stretched and baggier mid thigh variant that belted around the waist occurred in the 1970s and 1990 in parts of the UK, Southern Russia, Ukraine, France, Canada, Australia, the USA, Germany, Italy and Ireland.

A dress format made of the literal or metaphoric Gypsy top/peasant blouse stitched on to a Prairie skirt occurred in the 1970s and 1990 in parts of the UK, France, Canada, Australia, Southern, Russia, the USA, Germany, Italy and Ireland.

A 1950s poodle skirt. Attribution: The Children's Museum of Indianapolis

A poodle skirt is a wide swing felt skirt of a solid color (often pink or powder blue) displaying a design appliquéed or transferred to the fabric. The design was often a coiffed poodle. Later substitutes for the poodle patch included: flamingos, flowers, hot rod cars. Hemlines were to the knee or just below it.

The skirt originated in the 1950s in the United States, designed by Juli Lynne Charlot. It quickly became very popular with teenage girls, who wore them at sock hops (school dances), and as everyday wear.

The skirt was easy for people to make at home, since the design was simple and the materials easily available.

Movie stars commonly wore this skirt, and it featured widely in magazines and advertising, and many were eager to keep up with Hollywood's fashions, adding to its popularity.

The poodle skirt remains one of the most memorable symbols of 1950s Americana and is frequently worn as a novelty retro item, part of a nostalgic outfit. A similar design of these skirts became popular in the years 2009-2010. The skirts had been shortened, and the band had stayed.

Some style of the teens' and young adults' 1950's Poodle skirts were very full skirts, some of which were shaped more like a wearing a Romantic tutu than a normal skirt, due to the massive petticoat below. This trend only occurred in the west during the early to mid 1950s and is now laughed at (as of 2017).

Some style of the teens' and young adults' 1950's regular skirts were very full skirts, some of which were shaped more like a wearing a Romantic tutu than a normal skirt, due to the massive petticoat below. This trend only occurred in the west during the early to mid 1950s and is now laughed at (as of 2017).

Some Ukrainians (of Dnieper lowlands) in national attires, drawing of George Narbut, 1907. They are Ethnic Ukrainians in national costumes and traditional Ukrainian setting. Drawing by George Narbut (Heorhiy Narbut), Ukrainian painter born in 1886 in Narbutivka, Hlukhiv district, Sumy region of eastern Ukraine. Author: George Narbut (1886 - 1920), Ukrainian painter.

A Belorussian woman in traditional folk costume from some time approaching 1917.

Sorbian women and children in the Tracht of Schleife Hornjoserbsce in 1900. Author: A. Schuler

A woman's blouse, based on traditional and largely Eastern European and Germanic European peasant dress of the 19th and early 20th Century, with puffed sleeves and square neckline.

The national and folk costume of those regions still retain them. Sleeves had 4 main styles: ¼ and ½ puffed sleeves (Germanic and Sorbian), ¾ and full length flared (Romania, Moldova, Hungary, Albania and the former Yugoslavia), full length and ¾ puffed sleeves (Baltic States and Slavic), and ½, ¾ and full length baggy sleeves (Slavic).

The term “peasant blouse” first appeared in the pages of Vogue Magazine in 1902. It describe a pail high-necked blouse with an embroidered bodice and loose bishop sleeves paired with a long, elegant skirt that couldn’t be mistaken for anything rustic in style.

Greenwich Village fashionistas and social 'bohemians' wore them at the Krazy Kat Club in the 1920s.

As a modern fashion article, Gypsy tops and peasant blouses first occurred in the USA in the 1930's as the original Eastern European styled peasant blouses had first appeared in the USA during 1936. They had embodied patterns, puff sleeves of various length and the fabric was in various colours on most 'Slavic styled' peasant blouses.

A similar ‘Polish style blouse’ ‘Russian style blouse’ and ‘Romanian style blouse’ with embroidered geometric patterns on a similar designed garment only occurred in in America during the 1930’s.

Hungarian peasant blouses arrived in the UK and USA in the 1930s. They had long or shoulder length puffed sleeves with gathered cuffs, a open collar (to be tied with a scarf) floral embroidered chest and colorful edging.

By the 1940's the shortages caused by World War 2 had caused them to become more of a pretty looking up-market, embroidered, blouse than anything else. Russian style blouses, Polish style blouse, Romanian style blouses and Hungarian peasant blouses recurred after many shortages were over in the late 1940s were over and gained raising support until becoming most popular in UK and USA during the late 1960s. A heavily embroidered and balloon sleeved forms occurred in Japan during 1951.

The modern idea of the 'peasant blouse' styled tops, were those mostly worn during the 1960's and occasionally in the 1950's. They had a squire neckline, gathered or scooped neckline and long puffed sleeves that were gathered in at the shoulder and wrist, baggy sleeves or flared sleeves that were wider at the wrist than at the armpit, like those traditionally worn by the people of Eastern European.

Yves Saint Laurent’s famous Russian Collection of 1976 was hugely influential in bringing both the embroidered details and billowing puffed\flared sleeves in to the mainstream fashions.

They were still fashionable to a degree in the U.S. during the early 1970s and as late as 1977. The remained in use until the mid 1980s. They were briefly trendy in Ireland and Australia during the mid 1970s. The UK, Spain, France, Italy, Switzerland and Germany took them up in the mid 1970's and dropped them during the early 1980'. Collars with and without V-necklines were the in-thing at this juncture time.

By 1978 a 'Bavarian style' type of blouse had also emerged in the USA. It consisted of a plain white blouse with a gathered necked with ties and long puffed-sleeved worn with a dark coloured corselet or bolero and a black or dark blue skirt, which has now largely gone goth.

The 'Bavarian style blouse', corset and skirt set took off with some teenage girls in the late 1990’s and went goth in the mid 2000's and has gone goth.

Trinidad and Tobago tried out the Slavic peasant blouses in the in the early 1990's. Peasant blouses were the in thing with peter pan collars in Mexico in 1995-2000, V-necks for Ecuador in 2005-2009 and with scoop necks for Ecuador and Bolivia in 2008. Colombia, Peru and Venezuela had some in the late 2000's.

They still occurred as children's ware in 2010 and 2011. As of 2011 they became mostly children's ware and the term was used for any fashionably styled teenage blouse or t-shirt that was embroidered\patterned, had puffed sleeves and had a open collar\decollete neckline.

A stretched and baggier mid thigh variant that belted around the waist occurred in the 1970s and 1990 in parts of the UK, Southern Russia, Ukraine, France, Canada, Australia, the USA, Germany, Italy and Ireland.

A dress format made of the literal or metaphoric Gypsy top/peasant blouse stitched on to a Prairie skirt occurred in the 1970s and 1990 in parts of the UK, France, Canada, Australia, Southern, Russia, the USA, Germany, Italy and Ireland.

Mexican Yucatecas dressed in 1993 with "terno" of huipil, traditional costume of Yucatán, with which the Jarana yucateca is danced.

A young girl in Todos Santos, Guatemala, in November 2008.

Indigenous woman in the atrium of the parish church of Palenque, Chiapas, Mexico on the 16th of April, 2011.

Huipil [ˈwipil] (from the Nahuatl word huīpīlli [wiːˈpiːlːi]) is the most common traditional garment worn by indigenous women from central Mexico to Central America.

It is a loose-fitting tunic, generally made from two or three rectangular pieces of fabric which are then joined together with stitching, ribbons or fabric strips, with an opening for the head and, if the sides are sewn, openings for the arms. Traditional huipils, especially ceremonial ones, are usually made with fabric woven on a backstrap loom and are heavily decorated with designs woven into the fabric, embroidery, ribbons, lace and more. However, some huipils are also made from commercial fabric.

Lengths of the huipil can vary from a short blouse-like garment or long enough to reach the floor. The style of traditional huipils generally indicates the ethnicity and community of the wearer as each have their own methods of creating the fabric and decorations. Some huipils have intricate and meaningful designs. Ceremonial huipils are the most elaborate and are reserved for weddings, burials, women of high rank and even to dress the statues of saints.

They derive from traditional garments warn by the natives of the region. The art was lost by mid 19th Century, but a modern version was rehashed, using some original patterns mixed with modern ones after World War 2.

The ceremonial huipils of the Tzotzils have maintained aspects of pre-Hispanic feather art with white feathers found on the chest and lower hem.

In Ocotepec and Cuquila in Oaxaca, which are high in the Mixtec mountains, there are huipils made of wool to combat the cold with cotton ones usually for festive occasions.

The huipil has been worn by indigenous women of the Mesoamerican region (central Mexico into Central America) of both high and low social rank since well before the arrival of the Spanish to the Americas. It remains the most common female indigenous garment still in use.

It is most often seen in the Mexican states of Chiapas, Yucatán, Quintana Roo, Oaxaca, Tabasco, Campeche, Hidalgo, Michoacán (where it is called a huanengo), Veracruz and Morelos. In Central America it is most often used among the Mayas in Guatemala.

After the Spanish conquest of the Aztec Empire and subsequent Spanish expansion, the huipil endured but it evolved, incorporating elements from other regions and Europe. One of the oldest known huipils in existence is the "La Malinche", named such because it was believed to have been worn by Hernán Cortés’ interpreter as it looks much like ones in depictions of her in the Lienzo de Tlaxcala and the Florentine Codex. However, carbon 14 tests date it to the 18th century. It is exceptional not only for its age but there is none like it in any collection and it is larger than usual at 120 by 140 cm. It is made of cotton with feathers, wax and gold thread. The design is dominated by an image of a double headed eagle, showing both indigenous and Spanish influence. It is part of the collection of the Museo Nacional de Antropología.

Some huipils, such as those from the Isthmus of Tehuantepec show Asian influence due to cloth brought from the Philippines. In addition, the huipil began to be worn with other garments, especially European skirts, during the colonial period. This led to changes in the garment itself and how it was used. In some cases, the huipil became shorter, to function as a kind of blouse rather than a dress. In the same region, the huipil also evolved into a long flowing and sometimes voluminous head covering which frames the face.

To this day, the most traditional huipils are made with hand woven cloth on a back strap loom. However, the introduction of commercial fabric made this costly and many indigenous women stopped making this fabric, or making simpler versions. By the early 1800s, women began to wear undecorated huipils or embroided European style blouses. By the end of the 19th century, most Maya women had forgotten the technique of brocade weaving entirely.

The huipil endures in many indigenous communities, if not as an everyday garment, as one for ceremonies or special occasions. When a woman puts on a huipil, especially a ceremonial or very traditional one, it is a kind of ritual. She becomes the center of a symbolic world as her head passes through the neck opening. With her arms, she forms a cross and is surrounded by myth as between heaven and the underworld.

Guatemala, Chapapas, Belize and Yucatan retained it and wore it in public. It's use increased as time went on. Examples were found in locations including Todos Santos in Guatemala, during November 2008, Yucatán in Mexico in 1993 and Palenque, Chiapas, Mexico during the 16th of April, 2011.

Native Mexican\Guatemalan Huipil were the in thing in Mexico, with peter-pan collars added in urban Mexico in 1995-2000, V-necks for Ecuador and Chile in 2005-2009 and with scoop necks for Colombia, Panama, Ecuador and Bolivia in 2008. Colombia, Peru and Venezuela had some in the late 2000's. It was publicly worn by a woman in Tijuana, Mexico during 2005. It was also imported as a style for Texan children in 2001.

They still occurred as children's ware in 2010, 2011 and 2012. As of 2011 they became children's ware and the term was used for any fashionably styled teenage or young adult's dress. Adults wore in in rural Guatemala in 2010.

Natives publicly ware traditional clothing in Chenalhó and Tzotzil, Chiapas, Mexico, during 2015. It was also publicly warn in Mezquital Huasteca, Mexico and Belize in 2012. It was also warn on mass by adults and children in Guatemala in 2013 and 2012.

It is now forming the clothing norm in Guatemala and southern Mexico's native populations.The immigrant community has made it's own Americanised version in Texas as of the late 1990s and it has caught on with members of all ethnicity as children's and party wear

Tourists bought it back to New Zealand in 2012 and the USA in 2016 as a suvinear, party were and posh wear.

British websites were selling a pornographically skimpy version of it in 2016 and Cjina was selling a non-skimpy version as of 2017.

A prairie skirt is an American style of skirt, an article of women's and girls' clothing originally rural parts of United States and the Canada prairies.

Prairie skirts are slightly flared to very full, with one or more flounces (deep ruffles) or tiers, and are often worn over a ruffled eyelet or lace-trimmed petticoat. In keeping with their design inspiration, traditional prairie skirts are usually made of "country" fabrics such as denim and flowered calico fabric. Prairie skirts are a staple of women's western wear, and very full prairie skirts are worn for square dancing.

Prairie skirts are so-called after their resemblance to the home-sewn skirts worn by pioneer women in the mid-19th century, which in turn are a simplified version of the flared, ruffled skirts characteristic of high-fashion dresses of the 1820s. The style originated as an adaptation of high fashion to the practicalities of rural life in the Western United States. Deep colors and prints were used as they did not show dirt, while decorations were used to update clothing to changing fashions.

They had died out until a Hippy revival style started in the late 1960s.

The counterculture obsessed Hippies rejeced mainstream fashion and looked to historical and non-Western styles. While 19th century prairie clothing was usually homemade, new companies such as Gunne Sax in San Francisco began manufacturing ready to wear prairie clothing. The style grew in popularity in the 1970s with the approach of the United States Bicentennial and was introduced to high fashion by Ralph Lauren in his fall 1978 Western-themed collection.

Mid-calf length, button-front denim prairie skirts with a single flounce, worn with a 1950's-style petticoat that was slightly longer than the skirt, became a mainstream fashion in the 1970s and early 1980s following Lauren's introduction.

Short, many-tiered prairie skirts of voile, chiffon fabric or other lightweight fabrics were a fashion trend in 2005. Some wear longer-length prairie skirts with a slip or underskirt to preserve their modesty.

A dress format made of the literal or metaphoric Gypsy top/peasant blouse stitched on to a Prairie skirt occurred in the 1970s and 1990 in parts of the UK, France, Canada, Australia, Southern, Russia, the USA, Germany, Italy and Ireland.

Culottes are items of clothing worn on the lower half. The case of culottes meaning split skirts, historical men's breeches, or women's under-pants is an example of fashion-industry words taken from designs across history, languages and cultures, then using them to describe different garments, often creating confusion among historians, and readers. The French word culotte is (a pair of) panties, pants, knickers, trousers, shorts, or (historically) breeches; derived from the French word culot, meaning the lower-half of a thing, the lower garment in this case.

Modern English use of the word culottes describes a split or bifurcated skirt or any garment which "hangs like a skirt, but is actually pants." During the Victorian Era (mid- to late-nineteenth century European culture) long split skirts were developed for horseback riding so that women could sit astride a horse with a man's saddle rather than riding side-saddle. Horse-riding culottes for women were controversial because they were used to break a sexual-taboo against women riding horses when they were expected to hide their lower limbs at all times. Later, split skirts were developed to provide women more freedom to do other activities as well, such as gardening, cleaning, bike riding, etc. and still look like one is wearing a skirt.

Culottes are used in school uniforms for girls. They can be used along with skirts, or they may be used as a replacement for skirts. Culottes are worn as part of a uniform mainly to primary and middle schools. Culottes were also part of the uniform of UK Brownie Guides up until recently, when the uniform was modernised and the traditional brown culottes (and the navy blue culottes worn by the Girl Guides) were replaced.

A dress format was made of the literal or metaphoric a pare of culottes stitched on to a pinafore dress's body section. This occurred during the early 1970s and early 1990 in parts of the UK, Ireland, France, Italy, the USA and Australia.

In place of the term culotte, the term skort (a portmanteau for skirt and shorts) is more widely used in some areas. While some garments sold as culottes resemble short trousers, to be a skort they need to look like skirts. They are distinguished from trousers or shorts by a fuller cut at the bottom (hem) than at the waist.While some garments sold as culottes resemble short trousers, to truly be a skort it needs to look like a skirt. Thus, they differ from trousers or shorts by being much fuller at the bottom (hem) than at the waist. A skort is shorts that have a front covering to resemble a skirt or short pant legs with a same length or longer skirt sewn over the top.

Some culottes have a part sewn over only the front, some are shorts with a skirt sewn over them. While these may not be completely the same as skorts, they are often called by either name, so either term can apply.

Skorts were developed to provide more freedom to do activities such as sports, gardening, cleaning, or bike riding, and give the appearance of a skirt.

Montgomery Ward claimed in their 1959 Spring/Summer catalog to have invented the garment they called a skort. It was a short knife or accordion pleated skirt with an attached bloomer. Years later, the term was applied to a pair of shorts with a flap of fabric across the front (and often the back) making the garment appear to be a skirt. In recent years, the term skort has been given to any skirt with an attached pair of shorts.

Women began to play golf in large numbers in the 1960s which led to the development of the famous Leon Levin "Q" skirt or "skort" which offered the freedom of shorts and soft lines of a skirt. The article became an immediate favorite on the Ladies Professional Golf Tour. Professional golfers famously known for wearing skorts are Natalie Gulbis and Paula Creamer. Skorts became popular in the West, especialy the UK and USA.

A dress format was made of the literal or metaphoric a skort stitched on to a pinafore dress's body section. This occurred during the early 1980s and early 1990 in parts of the UK, Ireland, the USA and Australia.

Women had traditionally, woman wore skirts or dresses to play tennis, and well into the twentieth century, with shorts gaining popularity with both men as a whole and a few of the women in the 1940s. Skirts had reached mid calf length by 1920, knee length by 1930 and mid thigh length by 1952.

The modern miniskirt like garment had come in to exsistance by 1952 and remained popular in sports ever since. Rebellious and sexed-up teens wore them of the sports ground in the 1960s, 1970s and 1980s.

Feminine shorts soon gained popularity in the 1990s. Tennis skirts have remained, like feminine shorts, the in thing to were at tennis ever since.

A miniskirt (sometimes hyphenated as "mini-skirt") is a skirt with a hemline well above the knees, generally at mid-thigh level, normally no longer than 10 cm (4 in) below the buttocks; and a minidress is a dress with such a hemline. A micro-miniskirt or microskirt is a miniskirt with its hemline at the upper thigh.

Short skirts have existed for a long time, though they were generally not called "mini" until the 1960s. Instances of clothing resembling miniskirts have been identified by archaeologists and historians as far back as c.1390–1370 BCE. In the early 20th century, the dancer Josephine Baker's banana skirt that she wore for her mid-1920s performances in the Folies Bergère was subsequently likened to a miniskirt. Extremely short skirts became a staple of 20th-century science fiction, particularly in 1940s pulp artwork such as that by Earle K. Bergey who depicted futuristic women in a "stereotyped combination" of metallic miniskirt, bra and boots. Hemlines were just above the knee in 1961, and gradually climbed upward over the next few years. By 1966, some designs had the hem at the upper thigh. Stockings with suspenders were not considered practical with miniskirts and were replaced with coloured tights. The popular acceptance of miniskirts peaked in the "Swinging London" of the 1960s, and has continued to be commonplace among many women, especially teenagers, pre-teens, and young adults. Before that time, short skirts were only seen in sport and dance clothing, such as skirts worn by female tennis players, figure skaters, cheerleaders, and dancers.

Several designers have been credited with the invention of the 1960s miniskirt, most significantly the London-based designer Mary Quant and the Parisian André Courrèges.

While very short skirts have existed for a long time, they were generally not called "mini" until after the 1960s. Instances of clothing resembling miniskirts have been identified by archaeologists and historians as far back as c.1390–1370 BCE. This is the date of the Egtved Girl, a Nordic Bronze Age burial of a young girl who was wearing a short woollen skirt with bronze ornaments that has been compared to a miniskirt.

One of the earliest known cultures where women regularly wore clothing resembling miniskirts was a subgroup of the Miao people of China, the Duan Qun Miao (Chinese: 短裙苗; pinyin: duǎn qún miáo, literally "short skirt Miao"). In albums produced during the Qing dynasty (1644–1912) from the early eighteenth century onwards to illustrate the various types of Miao, the Duan Qun Miao women were depicted wearing "mini skirts that barely cover the buttocks." At least one of the "One Hundred Miao Pictures" albums contains a poem that specifically describes how the women's short skirts and navel-baring styles were an identifier for this particular group.

Extremely short skirts became a staple of 20th-century science fiction, particularly in 1940s pulp artwork such as that by Earle K. Bergey who depicted futuristic women in a "stereotyped combination" of metallic miniskirt, bra and boots. The "sci-fi miniskirt" was seen in genre films and television programmes as well as on comic book covers. The very short skirts worn by regular female characters Carol and Tonga (played by Virginia Hewitt and Nina Bara) in the 1950–55 television series Space Patrol have been suggested as probably the first 'micro-minis' to have been seen on American television. It was later seen as remarkable that only one formal complaint relating to the skirts could be recalled, and that by an ad agency in relation to an upwards shot of Carol climbing a ladder. Hewitt pointed out that even though the complainant claimed they could see up her skirt, her matching tights rendered her effectively clothed from neck to ankle.

Otherwise, Space Patrol was applauded for being wholesome and family-friendly, even though the women's short skirts would have been unacceptable in other contexts. Although the 30th-century women in Space Patrol were empowered, experts in their field, and largely treated as equals, "it was the skirts that fuelled indelible memories." The Space Patrol skirts were not the shortest to be broadcast at the time – the German-made American 1954 series Flash Gordon showed Dale Arden (played by Irene Champlin) in an even shorter skirt. Such skirts become a American younger woman's fashion trend.

The world renowned designer, Mary Quant, wearing a mini dress of her own design, with a sheepskin coat and bag thrown over her shoulder, and wearing go-go boots during the December of 1966.

The manager of an unnamed shop in London's Oxford Street began experimenting in 1960 with skirt hemlines an inch above the knees of window mannequins, and noted how positively his customers responded. Hemlines were just above the knee in 1961, and gradually climbed upward over the next few years. By 1966, some designs had the hem at the upper thigh. Stockings with suspenders were not considered practical with miniskirts and were replaced with coloured tights. Towards the end of the 1960s, an even shorter version, called the microskirt or micro-mini, emerged. Mini-skirts became a global must have 1960s fashion trend outside of a few hardline states like the USSR, N. Korea and the PRC.

Extremely short skirts, some as much as eight inches above the knee, were observed in Britain in the summer of 1962. The young women who wore these short skirts were called "Ya-Ya girls," a term derived from "yeah, yeah" which was a popular catcall at the time. One retailer noted that the fashion for layered net crinoline petticoats raised the hems of short skirts even higher. The designer Mary Quant was quoted as saying that "short short skirts" indicated youthfulness which was seen as desirable, fashion-wise.

The earliest known reference to the miniskirt is in a humorous 1962 article datelined Mexico City and describing the "mini-skirt" or "Ya-Ya" as a controversial item of clothing that was the latest thing on the production line there. The article characterised the miniskirt as stopping eight inches above the knee. It referred to a writing by a psychiatrist, whose name it did not provide, who had argued that the miniskirt was a youthful protest of international threats to peace. Much of the article described the reactions of men, who were said to favor the fashion on young women to whom they were unrelated, but to oppose it on their own wives and fiancés. in the heart of fashionable "Swinging London", the miniskirt was able to spread beyond a simple street fashion into a major international trend. The style came into prominence when Jean Shrimpton wore a short white shift dress, made by Colin Rolfe, on 30 October 1965 at Derby Day, first day of the annual Melbourne Cup Carnival in Australia, where it caused a sensation. According to Shrimpton, who claimed that the brevity of the skirt was due mainly to Rolfe's having insufficient material, the ensuing controversy was as much as anything to do with her having dispensed with a hat and gloves, seen as essential accessories in such a conservative society.

Upper garments, such as rugby shirts, were sometimes adapted as mini-dresses. With the rise in hemlines, the wearing of tights or pantyhose, in place of stockings, became more common. Some European countries banned mini-skirts from being worn in public, claiming they were an invitation to rapists. In response, Quant retorted that there was clearly no understanding of the tights worn underneath.

From 1969 onwards, the fashion industry largely returned to longer skirts such as the midi and the maxi. Journalist Christopher Booker gave two reasons for this reaction: firstly, that "there was almost nowhere else to go ... the mini-skirts could go no higher"; and secondly, in his view, "dressed up in mini-skirts and shiny PVC macs, given such impersonal names as 'dolly birds', girls had been transformed into throwaway plastic objects". Certainly this lengthening of hemlines coincided with the growth of the feminist movement. However, in the 1960s the mini had been regarded as a symbol of liberation, and it was worn by some, such as Germaine Greer and, in the following decade, Gloria Steinem,.

Germaine Greer herself wrote in 1969 that:

The women kept on dancing while their long skirts crept up, and their girdles dissolved, and their nipples burst through like hyacinth tips and their clothes withered away to the mere wisps and ghosts of draperies to adorn and glorify ...

Indeed, miniskirts never entirely went away and, for example, were often worn by Deborah Harry, of the group Blondie, during the "new wave" of the late 70s. The song "(I Don't Want to Go to) Chelsea" (1978), by new wave artist Elvis Costello, contained the line: "There's no place here for the mini-skirt waddle".

Minis were worn in Australia during the early 1980s. In spring of 1982, (June: Time Magazine) short skirts began to re-emerge, notably in the form of "rah-rahs", which were modeled on those worn by female cheerleaders at sporting and other events. In 1985, the British designer Vivienne Westwood offered her first "mini-crini," an abbreviated version of the Victorian crinoline. Its mini-length, bouffant silhouette inspired the puffball skirts widely presented by more established designers such as Christian Lacroix. In 1989, Westwood's mini-crini was described as having combined two conflicting ideals – the crinoline, representing a "mythology of restriction and encumbrance in woman's dress," and the "equally dubious mythology of liberation" associated with the miniskirt.

From the 1980s, many women began to incorporate the miniskirt into their business attire, a trend which grew during the remainder of the century. The titular character of the 1990s television program Ally McBeal, a lawyer portrayed by Calista Flockhart, has been credited with popularising the slutty micro-skirts. Rah-rah skirts became a noted UK and US teen party fashion trend.

The very short skirt is an element of Japanese school uniform which since the 1990s has been exploited by young women who are part of the kogal (or gyaru) subculture as part of their look. Gyaru deliberately wear their skirts short enough to reveal panties (actually a second pair worn over actual knickers) as a form of exhibitionism known as panchira.

In the early 21st century micro-minis were once again revived. In 2003 Tom Ford, at that time described as one of the few designers able to effortlessly dictate changes in fashion, stated that micro-skirts would be the height of fashion for Spring/Summer 2003. For fashionable wear, early 21st century microskirts were often worn with leggings or tights in order to avoid revealing too much. At this time, an even briefer version of the micro-mini emerged, creating a garment sometimes described as a "belt-skirt." Rah-rah skirts became a minor UK and US teen and child party fashion trend in the early 21st

Since the adoption of trousers in Western Europe in Late Antiquity, trousers have been largely worn by men and not by women until the early 20th century.

In 1919, Luisa Capetillo challenged the mainstream society by becoming the first woman in Puerto Rico to wear trousers in public. Capetillo was sent to jail for what was then considered to be a "crime", but the judge later dropped the charges against her. Some factory workers also wore them in WW1.

Women increasingly wore trousers as leisurewear in the 1920s and 30s. In the early 20th century female pilots and other working women often wore trousers. Actresses Marlene Dietrich and Katharine Hepburn were often photographed in trousers from the 1930s.

During World War II, American women working in industrial work in war service wore their husbands' (suitably altered) trousers and dungarees. In the post-war era trousers were still common casual wear for gardening, youth socialising, working , horse riding, cycling and various active leisure pursuits.

Similarly, in Britain during the Second World War, because of the rationing of clothing, many women took to wearing their husbands' civilian clothes to work while their husbands were away in the armed forces. This was partly because they were seen as work garments, and partly to allow women to keep their clothing allowance for other uses. As the men's clothes wore out, replacements were needed, so that by the summer of 1944 it was reported that sales of women's trousers were five times more than in the previous year. The women also wore dungarees at times.

In the post-war era trousers were still were used in many places casual wear for gardening, youth socialising, working, horse riding, cycling and various active leisure pursuits.

Youngsters wore trousers as casuals in the 1950s and early 1960s, but skirts and dresses were still worn for formal and posh occasions, which the youngsters hated.

In 1969 ,Rep. Charlotte Reid (R-Ill.), became the first woman to wear trousers in the U.S. Congress. Pat Nixon was the first American First Lady to wear trousers in public.

12/02/1970. FOUNTAIN SQUARE IN DOWNTOWN CINCINNATI IS A PUBLIC SQUARE THAT WORKS FOR THE CITY AND ITS PEOPLE IN A MYRIAD OF WAYS: SCHOOL CLASS TAKES A LUNCH BREAK. Cincinnati, Hamilton, Ohio, United States. The girl in the blue Gypsy top, on the girl to the far left is wereing yellow flared trousers.

For a period in the 1970s, trousers became quite fashionable for women. In the United States, this may be due to the passage of Title IX of the Education Amendments of 1972, which declared that wereing dresses could not be required of girls. Dress codes thus changed in public schools across the United States.

The late 1970s saw the baby boomers in the UK and USA refusing to conform or psychologically grow up and thus refused to give up their jeans and slacks (trousers) in favor of 'oldie'\'sexist'\'ugly'\'square'\'pro-establishment' skirts and dresses. Both feminism and a youth-obsessed fashion swing made it a norm by the early 1980s for adults, teens by the mid 1980s and children in the early 1990s. The trend continues to this day, getting ever stronger amongst all age groups. Dungarees have futtered on in some places with teens, workers and pubidecent children, but much less than trousers.

In 1989 California state senator Rebecca Morgan became the first woman to wear trousers in a U.S. state senate.

Hillary Clinton was the first woman to wear trousers in an official U.S. First Lady portrait.

Women were not allowed to wear trousers on the U.S. Senate floor until 1993. In 1993, Senators Barbara Mikulski and Carol Moseley Braun wore trousers onto the floor in defiance of the rule, and female support staff followed soon after, with the rule being amended later that year by Senate Sergeant-at-Arms Martha Pope to allow women to wear trousers on the floor so long as they also wore a jacket.

It flourished between 1900 and 1960, especialy in the early 1950s across North America, Europe, the Russian Empire and Australasia for girl's cloths. It slowly faded until it finally winked out in 1965.

America's Snoqualmie Moondance festival in 1992. The woman on the right wares a form of Gypsy top and a long, floral maxi skirt. The drab maxi skirt would become more popular with younger women and teens in the late 1990s and early 2000s. The top would become popular from about 1998 to 2002 with teens and older girls.

A often white, flair sleeved, baggy, square necked and lace trimmed hybrid Hippy garment style occurred in the USA during the mid 1960's, but declined from the late 1970’s to the mid 1980’s. It was in the UK, France, Australia, Canada, W. Germany and Ireland in the late 1960’s mid 1970’s.

A camisole is a sleeveless undergarment for women, normally extending to the waist. The camisole is usually made of satin, nylon, or cotton. A camisole, also called just cami, is a sleeveless undergarment for women, normally extending to the waist. They often have spaghetti straps. Originally worn as an undershirt, like the A-shirt they have become increasingly used as warm-weather outerwear. The camisole is usually made of satin, nylon, or cotton. Historically, camisole referred to jackets of various kinds, including overshirts (worn under a doublet or bodice), women's négligées and sleeved jackets worn by men.

In modern usage a camisole or cami is a loose-fitting sleeveless woman's undergarment which covers the top part of the body but is shorter than a chemise. A camisole normally extends to the waist but is sometimes cropped to expose the midriff, or extended to cover the entire pelvic region. Camisoles are manufactured from light materials, commonly cotton-based, occasionally satin or silk, or stretch fabrics such as Lycra, nylon, or spandex.

A camisole typically has thin "spaghetti straps" and can be worn over a brassiere or without one. Since 1989, some camisoles have come with a built-in underwire bra or other support which eliminates the need for a bra among those who prefer one.

Young women and teenage girls occasionally wore black or white shiny and\or silky ones as outerwer in the summer or at parties in the late 1980s and early 1990s.

Starting around the 2000s, camisoles have been known to be used as general outerwear.

A variety of sleeveless body shaping undergarments have been derived from the camisole shape, offering medium control of the bust, waist and/or abdomen. Such control camisoles are the most casual of shaping garments, covering the torso from above the chest to at or below the waist. They look similar to tight-fitting cotton or silk camisoles, but the straps are usually wider, the hems longer, and the stretchy, shiny fabric provides a smoothing touch.

A teddy, also called a camiknicker or braslip , is a garment which covers the torso and crotch in the one garment. It is a similar style of garment to a one-piece swimsuit or bodysuit, but is typically looser and more sheer. The garment is put on by stepping into the leg holes and pulling the garment up to cover the torso. It may cover the whole of the torso or partially and may also cover the arms. They may open at the crotch for visits to the toilet, without the need to remove all clothing. As an undergarment, it combines the functions of a camisole and panties, and may be preferred to avoid a visible panty line. It is also found as lingerie.

A one-piece undergarment which combined a camisole and knickers appeared in the late 1900s and early 1910s under the name "envelope chemise" or "camiknickers". It was considered an appropriate garment to wear under the shorter dresses which came into fashion in the 1920s. The garment was also worn without an overgarment in the boudoir.

A version reappeared as a lingerie garment in the late 1960s, featuring a bra top and attached slip, to wear under short, shift dresses, and replace half slips. Often the bra top was an underwire style, and the entire garment was sized by the bra. It was called both a "teddy" or "braslip," usually in traditional lingerie colors, and young women especially liked them.

Another revival began in the 1980s and 1990s, under the name "teddy" or "bodysuit", when the garment was made of spandex, featuring brief construction combining features of a bra and panties, or leotard, and brighter colors.

A body briefer is a form-fitting garment which smooths and shapes the wearer's figure. They typically come in a variety of control levels, achieved by using different materials or thicknesses things of materials in the body areas they are designed to control. Like sleep teddies, body briefers tend to use simpler materials and styles than teddies designed for visual appeal. Body briefers are also commonly referred to as "body shapers" or "women's shapers".

A fashionable top teddy combines a thong panty, bra and fashion top. Fashion top teddies come in a wide variety of styles, from simple styles with plain materials to very fancy styles with beads, crystals or sequins. Fashion top teddies can be worn as fancy undergarments or as an outer garment without a top over them.

A tube top is a shirt with no sleeves or shoulders, basically a tube that wraps around a woman's torso. Some versions cover most of the torso while others leave a large midriff. In British and Australian English, they are informally known as boob tubes.

A tube top, colloquially known in the UK and Australia as a boob tube,is a shoulderless, sleeveless women's garment that wraps around the upper torso. It is generally tight over the breasts, usually by means of elastic bands at its top and bottom, to prevent it from falling. The tube top's precursor was a beachwear or informal summer garment worn by young girls in the 1950s, that became more widely popular in the 1970s, and returned to popularity in the 1990s and 2000s.

They became more widely popular in the 1970s, and returned to popularity in the 1990s and 2000s.

In 2012 Israeli fashion designer Elie Tahari claimed that he helped popularize tube top after his arrival in New York in 1971. The original tube tops, as spotted by Tahari in a New York factory run by Murray Kleid, were elasticated gauze tubes reportedly produced through a factory manufacturing error. Murray ran with this product for years and eventually Tahari bought tubes from Kleid and sold them for up to double Kleid's $2 asking price, later setting up his own factory to mass produce tube tops to meet widespread demand.

There's a couple of VHS videos Ii own which I've just converted to DVD with quite a bit of History on the Wirral as I love my History I thought I would share with you how the Wirral looked back in the 1940 - 1950s. All Credit goes to Angus Tilston for making these outstanding videos.. He has more videos Available to buy visit his site here.. http://www.pleasurespast.nepc.co.uk Pleasures Past own Angus Tilston is a member of the following movie club pleas support there Youtube Site http://www.youtube.com/watch?v=g1Is1GyL1zU and please pass by http://www.swanmoviemakerswirral.org.uk/ for more intresting videos.